Prom 9: Beethoven’s Fidelio

Love and liberty triumph over political oppression in Beethoven’s only opera. Soprano Ricarda Merbeth stars as the daring Leonora who disguises herself as prison guard Fidelio in order to save her husband Florestan, sung by tenor Stuart Skelton. Part of the Revolutionary Music series at this year’s Proms, Fidelio is passionate and powerful.

Prom 49: Bach’s St John Passion

Bach’s stirring setting of the Passion narrative is brought to the Proms by Bach expert John Butt and the Dunedin Consort in their Proms debut, alongside soloists including soprano Sophie Bevan. For the more daring members of the audience, this Prom offers aspiring singers the chance to join in with the chorale passages.

Prom 59: Mozart’s La clemenza di Tito

If you can’t wait until the start of The Royal Opera’s Autumn Season for a dose of Mozart (Die Zauberflöte opens on 12 September 2017) Prom 59 is a fantastic opportunity to experience a work which premiered in the same year. Set in Ancient Rome, La Clemenza di Tito (The Clemency of Titus) is a sophisticated tale of political intrigue and dangerous passions played out to Mozart’s stunning score. Mezzo-soprano Alice Coote leads a magnificent Glyndebourne cast, under Music Director Robin Ticciati in this semi-staged performance.

Prom 61: Renée Fleming sings Strauss

After a captivating performance in Richard Strauss’s Der Rosenkavalier at the Royal Opera House last Season, American soprano Renée Fleming returns to London, this time taking to the stage of the Royal Albert Hall. Joining Sakari Oramo and the Royal Stockholm Philharmonic Orchestra, Fleming sings a programme including the opulent music from the ending of Strauss’s Daphne, the memorable ‘transformation’ scene. As part of the Classical for Starters series, this Prom is the perfect introduction to the voice of one of the world’s most famous sopranos and the mesmerizing music of Strauss.

Prom 63: Taneyev, Rachmaninoff and Tchaikovsky

Semyon Bychkov continues his Tchaikovsky Project season with this stunning Russian programme culminating with Tchaikovsky’s epic Manfred Symphony. The passion and colour of this programmatic symphony, based on Byron’s poem of the same name, shows the narrative power of Tchaikovsky’s music. His three full-length ballet scores – The Nutcracker, Swan Lake and The Sleeping Beauty – remain favourites of classical music audiences the world over.